Word: brooklyn
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Stories' songs are set in Brooklyn, Little Italy and the Empire State Building, but Harvey wants it made clear that this is not The New York Album. ("Half of it was written in other places, and, I don't know, The New York Album just sounds so..." Horribly pretentious? "Oh, yes!") She's also confounded by lingering comparisons to Patti Smith, which were complimentary earlier in her career but now seem a bit confining. "I guess we do have a passion about the way we deliver and the nature of the things we're singing about. They're quite strong...
...Though his visual style was frequently spectacular, the details of Lewis's pre- and post-Hollywood life are decidedly mundane: Born in 1907 in Brooklyn, Lewis initially ventured to Hollywood in the 1920s to become an actor. After his brother Ben, a seasoned editor, encouraged him to go behind the camera, Lewis worked his way up in the industry until he obtained a slot as an editor in the early '30s. He made his debut as a director in 1937 with "Navy Spy;" then came a series of westerns, and a stint in the Signal Corps during WWII...
...Stengel had switched to managing and changed into pinstripes. He won his first of five Subway Series as a skipper that year, when his Yankees beat the Dodgers four games to one, and his last in '56, when the Bombers beat the Bums 4-3. The Dodgers left Brooklyn for Los Angeles in 1958, but in 1962 Queens got the Mets. And who was the first manager of the Amazin's? Stengel, tying things up nicely...
...this eye-for-an-eye city, there's a law about facing the music. Says Knoblauch of the Series: "I hope everyone comes out of it safe," but he speaks for himself. Speaking for New York is Mike Padden, a legal-aid lawyer who lives in Manhattan, works in Brooklyn, has represented some pretty scuzzy characters from Staten Island, roots for the team in the Bronx, has attended a game or two in Queens and has downed a beer or three at Gallagher's. "Clemens is my guy, but I'd like to see him digging in against Leiter...
...montage comes from growing up in the '80s in Brooklyn with hip-hop culture. There was hip-hop art, hip-hop music, rap, dance, break. And there were films about hip-hop, but there wasn't really hip-hop techniques used in filmmaking. I wanted to try and apply that to narrative filmmaking, to sample images with sounds, and with that you could advance the story very quickly. It really works well in Requiem, because it's detailing something that's obsessive, an addiction, and it's repetitive...